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| - | On the Irony in Prose by Božena Slan?iková Timrava<br><br> | + | '''On the Irony in [http://neww.huygens.knaw.nl/authors/show/3745 Božena Slan?iková Timrava]'s Prose'''<br><br> |
| - | 3:45 – 4:15 pm <br> | + | ''Abstract''<br><br> |
| - | Break<br> | + | |
| - | 4:15 – 5:30 pm <br><br> | + | |
| - | '''Shifting Paradigms : Theory and Praxis'''<br><br> | + | Marta Sou?ková in her paper closely inspects the short fiction by Timrava (one of the first Slovak women authors, 1867–1951) in order to highlight the issue of comic there, mainly irony as the characteristic narrative trope. Whereas male realistic Slovak authors coped with opposition of own and foreign culture, female writers followed up not only the world literature, but as well as domestic, male tradition. It is interesting that although Slovak realistic women authors brought up on German sentimental literature ([http://neww.huygens.knaw.nl/authors/show/1078 E. Wernerová], W. Heinburgová and others), only B. Slan?íková Timrava criticized it. Whereas most Slovak realistic authors tried to solve national problems through literature, Timrava was authentic, she portrayed her own problems through her protagonists and she just wanted to be artistic. This was the reason why she rejected the sentimental and didactic literary genres known from home (her father was evangelical minister).<br><br> |
| + | In her prose Timrava uses also the narrative autobiographical structure to point out hypocrisy of the period of the Austrio-Hungarian Monarchy at the end of the 19th century and the beginning of the 20th century. In the partially autobiographical nouvelle [http://neww.huygens.knaw.nl/works/show/11823 ''Všetko za národ''] (Everything for the Nation; 1926) Timrava criticizes exaggerated emotions as well as nationalism. In the nouvelle we can find different solutions of the national problem as opposed to the usual way presented in Slovak literature. In Timrava´s prosaic work personal and national is interwoven, nevertheless, the nation, folk or a man are not worthy of great love and sacrifice. The anti-idyllic character of the nouvelle is connected with the corporeality of the characters: Timrava doesn´t model an ideal heroine. In Timrava´s texts we can find the traces of eroticism or scenes in which the female character is controlled by her body, not spirit. There is the contrast between external and internal world in Timrava´s work, speech of heroes is not the same as their inner monologue. It often provides the comic turn, but we must differentiate between irony and humour. The motif of marriage is frequent in Timrava´s work because of the fact that her female characters are not often nice, rich or wise and they fall in love with men who are unworthy to their affection. This motif is also modeled by irony. | ||
| - | *Valérie Cossy:<br> | ||
| - | *Gender as an object of discourse in Isabelle de Charrière's contribution to the French Enlightenment<br><br> | ||
| - | |||
| - | *Elinor Shaffer:<br> | ||
| - | *Do special factors play a role in the reception of women authors ?<br><br> | ||
| - | |||
| - | 5: 30 pm<br> | ||
| - | Tour of Chawton Library and House<br> | ||
| - | Dinner<br><br><br> | ||
| - | |||
| - | |||
| - | Friday, 4th November<br> | ||
| - | 9:00 - 9:15 am <br><br> | ||
| - | |||
| - | *Suzan van Dijk:<br> | ||
| - | *From Milestone I to Milestone II (via Training Schools, Short Time Missions, Thinktank meeting)<br><br> | ||
| - | |||
| - | 9:15 – 10:00 am<br><br> | ||
| - | |||
| - | *GertJan Filarski:<br> | ||
| - | *From a database to a Virtual Research Environment<br><br> | ||
| - | |||
| - | 10:00 -11:15 am <br><br> | ||
| - | |||
| - | Working Group meetings (agenda to follow)<br><br> | ||
| - | |||
| - | 11:15 -11:30 am <br> | ||
| - | Break<br> | ||
| - | 11:30 -12:30 am <br><br> | ||
| - | |||
| - | Working Group meetings<br><br> | ||
| - | |||
| - | 12:30 -1:30 am <br> | ||
| - | Lunch<br> | ||
| - | 1:30 – 2:30 pm <br><br> | ||
| - | |||
| - | Reports by Working Groups <br><br> | ||
| - | |||
| - | 2:30 – 4:00 pm<br><br> | ||
| - | |||
| - | Management Committee meeting (all WG members invited; agenda to follow)<br><br> | ||
| - | |||
| - | 4:00 pm <br> | ||
| - | Coach to Southampton University<br><br> | ||
| - | |||
| - | 5:00 – 6:00 pm <br><br> | ||
| - | |||
| - | Public Lecture: <br> | ||
| - | *Markman Ellis:<br> | ||
| - | *Reading, Writing and Print Publishing in the Elizabeth Montagu Circle<br><br> | ||
| - | |||
| - | Reception and Dinner <br> | ||
| - | Coach back to Chawton<br><br><br> | ||
| - | |||
| - | |||
| - | Saturday, 5th November<br><br> | ||
| - | |||
| - | 9:30 – 11:00 am <br><br> | ||
| - | |||
| - | '''Session A. Going Global''' <br><br> | ||
| - | |||
| - | *Corinne Fournier Kiss:<br> | ||
| - | *Eliza Orzeskowa’s reception of George Sand<br><br> | ||
| - | |||
| - | *Kirsi Tuohela: <br> | ||
| - | *The Reception of the Baltic German Writer Laura Marholm-Hansson in Nordic Countries and Germany<br><br> | ||
| - | |||
| - | *Isabel Lousada: <br> | ||
| - | *Portugese translators of British authors from 1554 to 1900<br><br> | ||
| - | |||
| - | '''Session B. Paratexts and Self-Fashioning of the female author'''<br><br> | ||
| - | |||
| - | *Anne-Birgitte Rønning:<br> | ||
| - | *Self-positioning and genre-negotiating in female-authored Robinsonades<br><br> | ||
| - | |||
| - | *Carme Font Paz:<br> | ||
| - | *Defending Female Authorship in Elizabeth Poole’s ''A Vision'' (1648)<br><br> | ||
| - | |||
| - | 11:00 – 11:15<br> | ||
| - | Break<br> | ||
| - | 11:15-12:00<br><br> | ||
| - | |||
| - | *Ele Carpenter:<br> | ||
| - | *Embroidered Digital Commons<br><br> | ||
| - | |||
| - | 12:00 – 1:00 am <br> | ||
| - | Lunch<br> | ||
| - | 1:00 - 2:30 pm <br><br> | ||
| - | |||
| - | '''Theoretical Approaches to Quantitative/Qualitative Research'''<br><br> | ||
| - | |||
| - | *Alessa Johns:<br> | ||
| - | *Explicating Cultural Transfer<br><br> | ||
| - | |||
| - | *Tania Badalic and Begona Regueiro:<br> | ||
| - | *Leading Voice – The reception of George Sand in Slovenia, Spain and Germany<br><br> | ||
| - | |||
| - | * Kim Heuvelmans and Ton van Kalmthout:<br> | ||
| - | * The Representation of Women Writers in Textbooks for Literary Education<br><br> | ||
| - | |||
| - | *Carmen Dutu:<br> | ||
| - | *Toward a (frin)gender perspective within the COST Action<br><br> | ||
| - | |||
| - | 2:30- 3:00 <br> | ||
| - | Break<br> | ||
| - | 3:00 - 4:00 pm <br><br> | ||
| - | |||
| - | Keynote<br> | ||
| - | *Vanda Anastácio:<br> | ||
| - | *Thinking about Women’s Writing: The Challenge of Theory<br><br> | ||
| Line 128: | Line 17: | ||
| - | SvD, October 2011<br><br><br> | + | AsK, September 2012<br><br><br> |
| <hr> | <hr> | ||
| <br> | <br> | ||
| *Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Oxford/Chawton%2C_November_2011 Chawton November 2011] > Soucková <br><br> | *Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Oxford/Chawton%2C_November_2011 Chawton November 2011] > Soucková <br><br> | ||
Current revision
Marta Souckova
On the Irony in Božena Slan?iková Timrava's Prose
Abstract
Marta Sou?ková in her paper closely inspects the short fiction by Timrava (one of the first Slovak women authors, 1867–1951) in order to highlight the issue of comic there, mainly irony as the characteristic narrative trope. Whereas male realistic Slovak authors coped with opposition of own and foreign culture, female writers followed up not only the world literature, but as well as domestic, male tradition. It is interesting that although Slovak realistic women authors brought up on German sentimental literature (E. Wernerová, W. Heinburgová and others), only B. Slan?íková Timrava criticized it. Whereas most Slovak realistic authors tried to solve national problems through literature, Timrava was authentic, she portrayed her own problems through her protagonists and she just wanted to be artistic. This was the reason why she rejected the sentimental and didactic literary genres known from home (her father was evangelical minister).
In her prose Timrava uses also the narrative autobiographical structure to point out hypocrisy of the period of the Austrio-Hungarian Monarchy at the end of the 19th century and the beginning of the 20th century. In the partially autobiographical nouvelle Všetko za národ (Everything for the Nation; 1926) Timrava criticizes exaggerated emotions as well as nationalism. In the nouvelle we can find different solutions of the national problem as opposed to the usual way presented in Slovak literature. In Timrava´s prosaic work personal and national is interwoven, nevertheless, the nation, folk or a man are not worthy of great love and sacrifice. The anti-idyllic character of the nouvelle is connected with the corporeality of the characters: Timrava doesn´t model an ideal heroine. In Timrava´s texts we can find the traces of eroticism or scenes in which the female character is controlled by her body, not spirit. There is the contrast between external and internal world in Timrava´s work, speech of heroes is not the same as their inner monologue. It often provides the comic turn, but we must differentiate between irony and humour. The motif of marriage is frequent in Timrava´s work because of the fact that her female characters are not often nice, rich or wise and they fall in love with men who are unworthy to their affection. This motif is also modeled by irony.
AsK, September 2012
- Conferences > NEWW international conferences > Chawton November 2011 > Soucková